In this section of the dialogue, the participants address various cases of abuse in the representation of saints. The central focus is on the incorrect representation of age.

Pacheco criticises how often painters used to make their angelic figures and faces like those of women: according to the author, elements such as heads adorned with curls and “feminine tresses in their hair, and “enlarged breasts” are unworthy and do not correspond to the best way of representing the “perfection” of angels.

Dealing with the story of St. Peter (Apostle), Pacheco analyses the correct way of representing the saint, not just presenting a few models to follow, but also some inadequate manners of depicting specific scenes/elements of the saint’s life, such as depicting St. Peter bald or tied to the cross with cords.

Molanus argues that in the depiction of holy figures their exterior features, such as their clothes or the attributes they hold, do not mean the historical figure him- or herself possessed or used these.

Molanus argues that saints should not be adorned with profane or ungodly elements, nor should they have the faces of people who are still alive.

Molanus discusses the exterior features of St. Andrew would have been black of medium height and with a full beard.

Letter of the Suprema to the Inquisitiors of the town of Valencia describing some cavases that allegedly entered the kingdom and recommending that they be collected so that they do not continue to circulate.

Alfonso Ortiz, a Neapolitan, argued with the painter from whom he had commissioned the canvas, threw it to the ground and broke the loom.

According to Pacheco, from an analysis made by Molanus, an erroneous, dangerous, and heretical manner of representing the Annunciation is, instead of depicting the Holy Spirit, adding a glow on the head of the Virgin, and in it a naked Child Jesus, with a cross on his shoulder, and the angels with God, the Father.

Francisco Pacheco in this passage created a response to Francisco de Rioja with the intention of counter-arguing him on his theory that Christ would be crucified with three nails, instead of four. Also, the author states that Christ should be not naked, but rather wear a white cloth and use the crown of thorns on the Cross.

Molanus argues that depicting the Virgin Mary kneeling in front of the infant Christ are allowed.

Molanus condemns ridiculing holy stories and persons as an act of blasphemy and those who practice such matters should be punished for it.

Molanus discusses the usefulness of insects, spiders, ants and similar animals in painting and indicates their moral significance and therefore usefulness to painting.

Bernat de Angay, a French-born prisoner claims to have read in the Apocalypse that the images should not be venerated

After the participants have divided painting into the three categories, they devote themselves to the freedom of the poetic painting.

Pacheco states in this passage how should be depicted the scene and its characters of “Christ in the wilderness (desert)” (Pacheco 1990, 639). The author mentions also the image made by Jeronimo Nadal, Pablo de Céspedes, and his own artwork as good models to be followed.

Molanus explains the iconography of Virgin Mary trambling the Devil with her feet as the depiction of her life free of sin and her virginity.

Molanus argues that as long as paintings that promote stories or subjects that do not derive from the Scriptures and that neither have been approved by the commentators do not lead to impiety they are allowed.

Molanus argues that artworks of stone, metal and the like are considered statues and can keep the memory of something alive, like Lot’s wife, who was turned into a pillar of salt and can thus be sacred objects.

Molanus defends the custom of using the head of the ruler on coins is allowed, however also religious signs or saints would traditionally be struck on coins.

The topic of the dialogue section is the representation of God.

Concerning the iconography of the Meeting of Anna and Joachim at the Golden Gate, the artists should not depict a kiss between the two saints (an error that follows the idea that the Virgin Mary was conceived by a kiss according to “some ancient little women testimonies”). On the contrary, the artists must represent both embracing each other “with great composure and modesty, which is very decent according to the married Saints”.

Dealing with the story of St. Paul and his meeting with Jesus Christ, who appeared to the saint on the road to Damascus, Pacheco states how both should be depicted.

Molanus rejects the practice of the depiction of a small Jesus, also known as the homunculus, carried by the rays of light of the Holy Spirit and ready to enter Mary’s body during the Annunciation.